Curious George / 1987

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Adam Ritchie and his band inside the DMZSteve Schmidt and Link Smith skating in DMZ parking lotSteve Schmidt, somewhere between the heights and downtownGrove Circle Punx - Andy Conrad, Utrillo, Bryan Spinas, Matthew Thompson, Jason White, Josh Bentley (92)

Mark Drenzek added story to The Link Springs Forms

Event The Link Springs Forms

Brad Sims added story to New Wave Festival

Chris Johnson added story to DMZ opens

cHe added story to DMZ opens

Jason Matthews (Livingston, Montana) added story to New Wave Festival

Jason Matthews (Livingston, Montana) added story to Econochrist forms

Jason Matthews (Livingston, Montana) added story to Hatful Day plays their first show

Robert Borden added story to Big Boss Line forms

Michelle Morton added story to Women's City Club Show

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Adam Ritchie and his band inside the DMZ

Steve Schmidt and Link Smith skating in DMZ parking lot

Steve Schmidt, somewhere between the heights and downtown

Big Boss Line - 10ft Tall

Grove Circle Punx - Andy Conrad, Utrillo, Bryan Spinas, Matthew Thompson, Jason White, Josh Bentley (92)

Towncraft Clip 6: A Generation of Vipers

Towncraft Clip 5: Kick Out a Light Socket And Go

Towncraft Clip 4: A Show of Force

Towncraft Clip 3: They Were Doing It For Little Rock

Towncraft Clip 2: Little Rock Pride

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Riverfest Amphitheatre built

Originally designed and built in 1987, this seven and one half acre site would see a rebirth in 1994 when planning began for its expansion into a 1,375 reserved seat and 9,125 lawn seat entertainment venue.

The Amphitheatre is part of the historic Julius Breckling Riverfront Park. In 1722, the French explorer Bernard de la Harpe found two distinct rock formations on the south bank of the Arkansas River, naming the smaller La Petite Roche.

riverfest amphitheatre, the river

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Lincoln Smith // One thing about the Summer of 1992 if I recall correctly, and keep in mind that this is nearly half my life ago, is that shows were being put on at the Riverfest Ampitheatre in response to the regular venue [Vino's] charging minors a larger cover fee at the door to attend shows than patrons who were of legal drinking age. That may have been just rumor, but I remember it being mentioned more than once by a number of people. Regardless of the reason, throwing free shows for donations reveals how the "scene" matured into a "community" as far as self-determination goes... the distinctions and hierarchies evaporated somewhat between someone who was in a band, someone who had a fanzine, someone who took photos, someone who baked cookies to sell... it became just a large group of friends focusing their energies toward a common goal, which was releasing the record that represented "us" at the time. But in retrospect I can't help but think that the record was a by-product of what was really accomplished, which was the galvanizing of a small community of people who cared a great deal about what they had fostered with one another.

I wasn't ... (More)One thing about the Summer of 1992 if I recall correctly, and keep in mind that this is nearly half my life ago, is that shows were being put on at the Riverfest Ampitheatre in response to the regular venue [Vino's] charging minors a larger cover fee at the door to attend shows than patrons who were of legal drinking age. That may have been just rumor, but I remember it being mentioned more than once by a number of people. Regardless of the reason, throwing free shows for donations reveals how the "scene" matured into a "community" as far as self-determination goes... the distinctions and hierarchies evaporated somewhat between someone who was in a band, someone who had a fanzine, someone who took photos, someone who baked cookies to sell... it became just a large group of friends focusing their energies toward a common goal, which was releasing the record that represented "us" at the time. But in retrospect I can't help but think that the record was a by-product of what was really accomplished, which was the galvanizing of a small community of people who cared a great deal about what they had fostered with one another.

I wasn't in a band in any lasting way. I didn't put out a 'zine. Hell, I didn't even LIVE in Little Rock most of the year because I attended flippin' boarding school. I rode my skateboard and I did run my mouth a whole lot. But in spite of my contributions, of which were meager at best, I still felt as though I was a part of something that shaped me and would remain with me... probably when I needed it most... and I really treasured that.

And who can forget Spitboy or Heroin when they came and played there?

Incidentally, I was on the Vans Warped Tour in 2001 and the venue for the Little Rock date was none other than the Riverfest Ampitheatre. And here I am, age 30, on the most "well produced", nationally promoted and commercially viable "punk" event going... watching Rancid and AFI play on the same damn surface 9 years later and I became very disheartened by how incidental the music had become to those listening. It just felt very strange to stand there, watching it all go down, knowing that I had stood in that very same spot and seen it done so much BETTER and mean so much MORE than just one more band who came to rock-out in your town, sell some overpriced merch and then split before the echo fades. (Less)

lincoln smith

Richard Matson // My father's construction company built the amphitheatre. It was a big deal for them at the time. I know he doesn't, and I doubt that all that many people in LR do, know that it was a major hub of the underground music scene in the early 90s and was filled with crusty, obnoxious punk rockers a couple nights a week. They should all be glad though. This huge structure, which must have cost several million dollars, is horribly underutilized by the city. There’s maybe 4 or 5 events there over any given year.

richard matson, riverfest amphitheatre, the river